Commentary

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VOLUME 1-1

Commentary, by Nasu Kinoko

Welcome to the world of Hoshizora Meteo.

The adventure surrounding the far off second newly pioneered Eden, the Imaginary Earth Nutella, has finally started.

This work is a classic yet brand-new teen sci-fi novel. Terms like magic filled with sci-fi explanations and new planets appear here, but those are only the backbone of the story.

What lies here is my and your story.

Yearning and fear towards the unknown,

And anticipation and anxiety as you await the future.

The dreams of your pubescent years, which the “you” before you became an adult held,

And the bitter conflicts of your younger days, when “someone” who had become an adult overtook and passed by you.

This is a fragment of your youth which glittered like a star, turning all those things into the power to act.

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And this work is also part of the genre that has come to be called light novels in recent years.

The word “light” here doesn’t mean “not heavy”, but rather that it is “easy for readers to like it”, or so I believe. I think that the author, Mr. Hoshizora Meteo, most likely wrote this work with that in mind as well.

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Even though it’s deep and profound, your steps are light.

The depth is short, but you can’t see the bottom of it.

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A “warmth” fills this work, which the author Hoshizora Meteo shares as if it were only natural while never bringing it to the forefront.

And the “pioneering” theme here isn’t limited to the plot of the story. I hope you all enjoy with a refreshing feeling this book by Hoshizora Meteo, who has developed and evolved even further in his writing.

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Then, I will next compose a love letter.

It’s embarrassing for an adult like me to speak the words “love letter”, but it can’t be helped since this is more like a love letter than a commentary. After all, Hoshizora Meteo is one of the great writers who I, Nasu Kinoko, consider my senpai and loved from before he debuted.

I became strongly conscious of Hoshizora Meteo in 2002.

(In truth, I was a fan of his from much earlier on… ever since I played his first true debut game, but whenever I tell Mr. Meteo that, he always says “That’s part of my Black History, you know, Nasu-san?” while making an expression like that of a rain-drenched corgi, so I’ll omit that here.)

Yes. It was a suspicious-looking work that is no longer even spoken of among Hoshizora Meteo’s readers. It was the publication of Liar-soft’s +18 game, [Rotten Princess]. Its title, character modelling, world view, background art, and screen production—many people in the Visual Novel business at the time were overwhelmed by [Rotten Princess]. I was also one of those people.

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Degenerate and avant-garde.

+++++++++++++++++++“A girl in a red kimono that is like a stain upon the world, standing still at the corner of your vision.”

Superstition and blind belief.

+++++++++++++++++++++++++++++++++++++++++“A wolf that creeps smoothly through a rustic abandoned village.”

A sense of vertigo which interweaves feelings of déjà vu and familiarity.

++++++++++++++++++++++++“A tomorrow you once saw. An ending you once saw. The accumulated rubble of civilization.”

The looping ending becomes a sweet poison that both saves and punishes the player.

+++++++++++++++++++++++++++++++++++++++“The world suddenly rots away due to red snow, as if falling asleep.”

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At the time, producers of +18 PC Novel Games were conceited, thinking they were at the forefront of Otaku culture. (That culture has moved onto light novels since 2005, but that’s another story.)

The writers of great Novel Games were also the directors and supervisors. It wasn’t that they had the right to direct their work, but rather that they had no choice but to do that portion of the work as well. In order to make a script for a game, writers had to have a say in all departments.

Due to the budget conditions and the writers being outsourced at times, there were also cases where they “only produced the script”. However, games that are considered masterpieces were always made by writers of such brand who both wrote the script and directed the production.

What for?

It’s obvious. In order to turn their world view, their mental image, from a “script” into a “game”.

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Hoshizora Meteo’s [Rotten Princess] is a monster born out of such a foundation.

Many of the users who played [Rotten Princess] fell to its beauty. The priority of the name “Hoshizora Meteo” instantly rose in people’s evaluations. The beauty of the total balance in his work. His firm world view. His strong will and artistic sense which controlled it all.

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“Why did such a person make [Bloomers 2000]!?

No, well, Bloomers was quite great in its own way, though!”

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As such voices of surprise permeated among users, Hoshizora Meteo continued dashing forward even further.

The great entertainment race whose stage was set in an entire galaxy, [Cannonball].

The tale of a new inn, illusions and the lives of an adult-like child and a child-like adult, [Forest].

The story of a continental-crossing journey based on Norse myth, [Seven Bridge].

These were records of the yet-to-be-known ace that came out in the golden transitory period, when the +18 PC Game industry flourished the most and continued producing ambitious, masterpiece and suspicious-looking works.

He pre-eminently stood out not just a head above others but rather with his whole height.

Novel Games are different from light novels. Each game is like a painting.

The writers who made interesting scripts in this golden era are too many to count, but I don’t think there was any artist who made “perfect paintings” in terms of both visuals and atmosphere as Hoshizora Meteo did.

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However—yes, it’s precisely because they were such perfect paintings that his works were only talked about among certain people of specific tastes. In short, they had a bit of a high threshold for users. I have now come to believe that it is because Mr. Hoshizora Meteo concentrated on the “meaning and significance of the painting” than “himself” or the “users”.

(The most extreme example of this among his works is [Girl’s Work], but that’s another story as well.)

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In the latter half of 2005, Mr. Hoshizora Meteo joined TYPE-MOON.

This person in the same business as me, who had I admired, was truly the intellectual that I had imagined.

Even though his heart is firmer than anyone else’es, he doesn’t talk zealously, isn’t prejudiced and is deeply understanding.

His text is always filled with prudence, and I, Nasu Kinoko, am overwhelmed every time I read his writing. And at the same time, I can’t help being grateful for my good fortune in him having come to the same battlefield as me.

I never knew that having an amazing writer at the same table as me would serve as such a strong encouragement and stimulus.

Even though it makes me understand that I’m still greatly inexperienced, you can’t calculate a precise numeric unless you have a ruler of measurement. I was like that up until 2007. If Nasu Kinoko’s point of view has changed ever since 2008, it was undoubtedly because Hoshizora Meteo was right beside.

When I read his project [Girl’s Work], part of me decided to start afresh from the beginning. No, it really is embarrassing! Meteo Love!

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Now then.

Similarly, Hoshizora Meteo has also changed according to the TYPE-MOON style.

The foundation of the works made by TYPE-MOON is “pleasure”.

Earlier, I said that Hoshizora Meteo prioritized the “meaning and significance of the painting”, but that doesn’t mean that he made light of the reader. Instead, I refer to how he focused on where to place the relative importance and gravity of each of his works.

The relative importance and gravity among novels is generally divided into three segments.

The story made for the story’s sake.

The story made for one’s own sake.

The story made for the reader’s sake.

How this balance is dealt with depends on the story’s theme.

I felt a weight in the “readers’ segment” of [Fire Girl] that has never been present in Meteo’s works until now. This is my impression after having read through Hinooka Homura’s efforts and accepted it as “This is our story”.

Nasu Kinoko synchronized with the depiction of the youth of the normal, lazy high school girl Homura, as if imitating the narrator *** (Note: This symbol is used to block out spoilers.)

When I think back, it was one year ago.

I can still remember how I felt as I ran to tell Meteo-san my impressions after I finished reading it.

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“Now then, do you know the true meaning of adventure?”

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[Fire Girl] was definitely written with that selling phrase in mind, is what Nasu Kinoko excitedly believed as he headed towards TYPE-MOON’s office. All the while thinking, I can’t just say “We haaaaave to do it since it’s written by Meteo-san!”, now can I?

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Well, the readers who have read this far have probably already noticed, this commentary isn’t for [Fire Girl], but rather for [Hoshizora Meteo].

I still haven’t talked much about what kind of person he is, but that’s something for the readers who have enjoyed his works to enjoy imagining themselves. Taking this commentary any further would be boorish.

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—Well then.

Welcome to Hoshizora Meteo’s heart-pounding world. This is a warm teen sci-fi story that combines the macro sci-fi world view and the micro-sized sense of values of a high school girl.

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The adventure on Nutella is filled with the many unknowns and adventures that all of us have dreamed of.

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